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1452-1481
Leonardo in the Florence of the Medici
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Adoration of the Magi
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Commissioned in 1481 by the monks of San Doneto at
Scopeto, the painting in the Uffizi is incomplete; even so,
enough of it exists to recognize the revolutionary elements
of its iconography, style, and symbolism.
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Leonardo da Vinci
Adoration of the Magi
1481-82
Galleria degli Uffizi, Florence |
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Leonardo da Vinci
Adoration of the Magi
1478-81
Pen and ink over silverpoint on
paper
Musee du Louvre, Paris
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The detail of this figure, which is isolated both from
the rest of the picture and from the adoring crowd,
indicates that it might be a self-portrait of Leonardo,
based on the bronze model by Verrocchio.
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Leonardo da VinciWoman's Head
1470-76
Pen, ink and white pigment on paper
Galleria degli Uffizi, Florence
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Filippino Lippi, Adoration of the Magi, 1496,
Galleria degli Uffizi, Florence.
Because of Leonardo's departure for Milan the work remained
unfinished. The commission was entrusted to Filippino, who,
with Botticelli's version in mind, duly completed the work
begun by Leonardo.
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Andrea Verrocchio, David, c.1475, Bargello,
Florence.
This elegant bronze sculpture symbolizes the humanist
culture embodied in the Medici's Laurentian Library. In
1476, it was sold by Lorenzo and Ciuliano to the Signory of
Florence.
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Leonardo da Vinci, Perspective Study for the Adoration of
the Magi, c.1481,
Cabinetto dei Disegni e delle Stampe, Calleria degli Uffizi,
Florence.
The pagan architecture symbolically encapsulates the collapse of the
ancient world at the moment of the Incarnation.
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